Thanks to the wonders of council applications, theartsdesk can bring you an exclusive preview of Marc Quinn's new sculptures to be placed outside the White Cube gallery on the grass of Hoxton Square.
One evening in 1970, Princess Anne ventured forth from her manor to attend a screening of Bronco Bullfrog at the Mile End ABC. Three decades later, the same cinema, now called the Genesis, hosted a screening of Barney Platts-Mills' debut feature last night in equally ceremonious circumstances: the launch of the East End Film Festival. Rarely seen, indeed almost lost (the original 35-mm negative was salvaged from a rubbish bin at the film lab), Bronco Bullfrog, which will be released nationally on 11 June, emerges as a minor revelation.
Within the space of a single year - 1979 - Barrie Keeffe wrote two scripts which together summed up the very essence of the East End on the eve of Thatcherism. The first, which barely needs introduction, was the now-classic The Long Good Friday. The other was Sus, an explosive play about a black man detained by two racist police officers on the night of the General Election.
Many is the mother the world over who announces that she won't die happy until she has lived to see her daughter (or son) happily wed. And so, out of a familial condition that transcends ethnicity and geography comes It's a Wonderful Afterlife, the Gurinder Chadha movie that carries this shared fretfulness one step further, throwing in curry jokes as it goes.
She’s a former magician’s assistant from Hackney, and on the first of three sold-out nights in London, before our very eyes, Paloma Faith conjured up an evening of uplifting and energetic entertainment: glittery and glamorous, warm and friendly. The music itself was memorable, but what stuck in my mind more than anything was her smile; she was having the time of her life, and it showed in a big broad grin that could light up a neighbourhood.
One of the most common genres of contemporary Brit drama is the "me and my mates" play – usually stories about flatsharing twentysomethings. Although, over the past decade, this type of drama has been somewhat overtaken by the return of the family play, you can still spot the genre in new writing venues all over the country. So Penelope Skinner’s new 90-minute piece, which opened last night at the Bush Theatre, is – despite its evocative name (which means the colour seen by the eye in perfect darkness) – at first sight as familiar as an old sofa.
For the life of me I cannot understand why London Assurance is not performed more often. It’s a rollicking comedy, written in 1841 but which has a Restoration heart, with a cast list that includes a wideboy named Dazzle, a valet Cool, a servant Pert, a lawyer Meddle and - hold your sides - a horsey broad brandishing a whip named Lady Gay Spanker. Calm down, now.